Randfigure as middels vir sosiale kommentaar in enkele werke van Pieter-Dirk Uys en Nataniel

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dc.contributor.advisorDu Preez, Petrusen_ZA
dc.contributor.authorVan Eeden, Margueriteen_ZA
dc.contributor.otherStellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.en_ZA
dc.date.accessioned2022-03-08T21:17:56Z
dc.date.accessioned2022-04-29T09:43:52Z
dc.date.available2022-03-08T21:17:56Z
dc.date.available2022-04-29T09:43:52Z
dc.date.issued2022-03
dc.descriptionThesis (MA)--Stellenbosch University, 2022.en_ZA
dc.description.abstractENGLISH ABSTRACT: This study investigates Pieter-Dirk Uys and Nataniël as two theatre practitioners that used characteristics of satire, cabaret, and the creation of marginalised characters to deliver social and political commentary on apartheid. Satire, comedy, and certain characteristics of cabaret are used as a point of departure for the theoretical framework of this study to further analyse four specific plays created by Pieter-Dirk Uys and Nataniël. Farce About Uys and Adapt or Dye are discussed with regards to Pieter-Dirk Uys’s use of satire, cabaret, and the creation of marginalised characters to protest apartheid. A discussion of Nataniëls plays, Dancing with John and White Soul, are discussed with reference to Nataniël’s use of satire, cabaret, and the creation of marginalised characters to protest apartheid. The thesis concludes that both PieterDirk Uys and Nataniël used satire and cabaret to protest apartheid and further that in each of the four aforementioned plays both Pieter-Dirk Uys and Nataniël created marginalised characters to protest social and political issues during apartheid.en_ZA
dc.description.abstractAFRIKAANSE OPSOMMING: Die studie ondersoek Pieter-Dirk Uys en Nataniël se gebruik van satire, kabaret en die skepping van gemarginaliseerde karakters om sosiale en politieke kommentaar op apartheid te lewer. Satire, komedie en die eienskappe van kabaret word as ‘n teoretiese raamwerk gebruik om die gekose werke van Pieter-Dirk Uys en Nataniël in daaropvolgende afdelings te bespreek. Vervolgens word Pieter-Dirk Uys se gebruik van satire, kabaret en sy gebruik van gemarginaliseerde karakters in twee onderskeidelike toneelstukke, Farce About Uys en Adapt or Dye bespreek. Nataniël se gebruik van satire en kabaret, asook sy skepping van gemarginaliseerde karakters in twee van sy toneelstukke, Dancing with John en White Soul volg die bespreking van Uys se werk op. Ten slotte bevind die tesis dat Pieter-Dirk Uys en Nataniël satire en kabaret gebruik het om apartheid te protesteer, In elk van die vier toneelstukke wat bespreek is, is gemarginaliseerde karakters gebruik om verdere sosiale en politieke kwessies van apartheid te protesteer.af_ZA
dc.description.versionMastersen_ZA
dc.format.extent129 pagesen_ZA
dc.identifier.urihttp://hdl.handle.net/10019.1/124965
dc.language.isoaf_ZAaf_ZA
dc.publisherStellenbosch : Stellenbosch Universityen_ZA
dc.rights.holderStellenbosch Universityen_ZA
dc.subjectPolitical satire, South African -- History and criticismen_ZA
dc.subjectUys, Pieter-Dirk -- Criticism and interpretationen_ZA
dc.subjectSouth Africa -- Politics and government -- Humoren_ZA
dc.subjectNataniel -- Criticism and interpretationen_ZA
dc.subjectComedians -- South Africaen_ZA
dc.subjectSouth African wit and humoren_ZA
dc.subjectUCTDen_ZA
dc.titleRandfigure as middels vir sosiale kommentaar in enkele werke van Pieter-Dirk Uys en Natanielaf_ZA
dc.typeThesisen_ZA
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